Opera Glasses The Marriage of Figaro A resource for teachers

Transcription

1 Opera Glasses The Marriage of Figaro A resource for teachers Bringing opera into the classroom KS2 Opera Glasses is supported by The Gibbs Charitable Trust

2 The Marriage of Figaro A resource for teachers Welsh National Opera 2 Contents Opera Glasses: Bringing opera into the classroom aims to bring opera into the classroom through free dress rehearsal tickets, workshops for pupils and this teachers resource. This resource contains some preparatory information to explore The Marriage of Figaro with your pupils before you come to see the dress rehearsal. You will find creative activities to get your pupils listening and appraising, links to Music and English, and handy lesson plans that you can use to work through the opera with your pupils. All activities reflect the key objectives of the Key Stage 2 National Curriculum for Music. You can find the extracts of music suggested on internet based free to play sites such as spotify, grooveshark, last fm etc. The Marriage of Figaro will be performed in Italian with surtitles in English and Welsh. The running time is approximately 3 hours 25 minutes including one interval. Chapter One The Marriage of Figaro 1 Introduction to opera 2 Key characters 3 A quick overview 4 Detailed synopsis 5 The libretto 6 The music Chapter Two Making an opera 1 How to make an opera (photocopiable sheet) 2 Tips to help follow an opera Chapter Three KS2 Lesson Plan 1 Introduction to opera 2 The characters, story and music of The Marriage of Figaro 3 Recitative and aria Teachers Pack written by Sarah ap Ian-Evans

3 The Marriage of Figaro A resource for teachers Welsh National Opera 3 Chapter One The Marriage of Figaro What is opera? Opera is a dramatic stage performance set to music. An opera is a theatre piece, like a play but instead of speaking the lines the characters sing them. In most operas there are no spoken words, everything is sung from beginning to end. An opera can take you on a rollercoaster of action, adventure, love, death, deceit and conflict. In many ways, operas are very similar to the soap operas that you see on TV. An orchestra accompanies an opera and they introduce the main themes of the opera during the Overture, which is played at the beginning of the opera. Voices (highest to lowest): Soprano The voice of Countess Almaviva, the highest female voice. Mezzo soprano The voice of Cherubino, the Count s page, a lower female voice. Tenor The highest male voice. Baritone The voice of Count Almaviva, lower than a tenor but higher than a bass. Bass The voice of Dr Bartolo, the lowest male voice. Main characters Count Almaviva Baritone Countess Almaviva Soprano Susanna Soprano / the Countess maid Figaro Baritone / Count Almaviva s valet Cherubino Mezzo soprano / the Count s page Dr Bartolo Bass / a doctor from Seville Marcellina Soprano / housekeeper to Bartolo

4 The Marriage of Figaro A resource for teachers Welsh National Opera 4 A quick overview The opera takes place in 18th century Seville, Spain. At a country house, Figaro and Susanna are about to be married, but they are caught in the middle of a domestic between their employers, the Almaviva s. Count Almaviva is not a well-behaved man; he neglects his wife and has attempted to start an affair with Susanna. Figaro is determined to stop such behaviour and together they inform the Countess of the attempted affair who agrees that the Count should be taught a lesson. There are further complications, Figaro is in debt, having borrowed money, and if the debt is not settled, he must marry Marcellina, Dr Bartolo s old housekeeper, who is old enough to be his mother. Figaro manages to escape marriage to Marcellina by explaining that he cannot get his parent s consent to marry because he was kidnapped as a baby. When questioned about his parents it is uncovered that he is actually the son of Marcellina and Dr Bartolo. In a ploy to catch the Count out, Susanna and the Countess have switched clothes and impersonate each other all causing almighty confusion. Only the Countess, Susanna and eventually Figaro actually know what is going on. When all identities are revealed, the Count is so humbled he asks for his wife s forgiveness, which is granted, and peace and love are restored to the household. Susanna wants Figaro The Count wants Susanna The Countess wants the Count and Cherubino wants? and what is Bartolo up to?... and why does Marcellina want Figaro?

5 The Marriage of Figaro A resource for teachers Welsh National Opera 5 Detailed synopsis Set in the Almaviva s country house, Figaro, the valet to Count Almaviva is to be married to Susanna, the Countess maid. Count Almaviva believes he can use his status to pursue Susanna. Act I Figaro and Susanna are in their bedroom that they will share once they are married. Figaro is sizing the room up for a bed, while Susanna is trying on her wedding hat. She is unhappy with their new bedroom, but Figaro is pleased with the room. He doesn t understand Susanna s unhappiness, especially when it is so conveniently located for them to each serve the Count and Countess. Susanna warns Figaro that it is perhaps located too conveniently for the Count, who she fears is planning to woo her. Figaro responds by telling his wife not to worry, as he will outwit the Count. Dr Bartolo enters with his housekeeper, Marcellina. Figaro once had a loan from Marcellina, with the agreement that if he did not settle his debt he would marry her. Bartolo, who has his own reasons for wanting revenge on Figaro has promised to find a way to make him fulfil his promise. Susanna returns and trades insults with Marcellina, who leaves upset, and Cherubino, the teenage page, enters. He tells Susanna he is in love with the Countess, but also tells how he has just been caught by the Count flirting with the gardener s daughter. Confused, he reveals how he cannot contain his romantic desires and on the arrival of the Count, goes to hide behind a chair. The Count has come to pursue Susanna but he is interrupted by the arrival of Don Basilio, the music master, and it is now his turn to hide. He heads for the same chair as the young Cherubino causing Cherubino to hide under a cloth. However, on hearing Don Basilio gossiping about Cherubino s crush on the Countess, the jealous Count reveals himself, and Basilio concludes that the Count and Susanna are an item. The Count vows to make Cherubino leave but when Susanna expresses sympathy for the young page the Count lists examples of his past bad behaviour and in his rage, lifts the cloth to find Cherubino. He is further enraged but they are interrupted by Figaro who returns with peasants to praise the Count on his reform of an ancient right of the lord of the manor to take a manservant s place on his wedding night. Act II In her bedroom, the Countess laments her husband s infidelity but plots to catch him out and starts to hatch a plan encouraged by Figaro and Susanna. They plot to send the Count an anonymous note about the Countess lover which Figaro is sure will drive him to distraction. Meanwhile, they will send Cherubino, disguised as Susanna, to meet the Count in the garden. The Countess will then surprise him. Figaro goes to fetch Cherubino and on his return the two women begin to dress up the page. Susanna goes into another room to get a ribbon and Cherubino takes advantage of her absence to declare his love for the Countess. At that moment, the Count bangs on the door and is furious to find it locked. Cherubino hides quickly in a dressing room. Suspicious of the odd goings on and noises, the Countess tells her husband it is Susanna in the dressing room. He takes his wife to find tools to open the door. Meanwhile Susanna, who has been observing quietly from behind a screen, helps Cherubino escape out of a window and takes his place in the dressing room. All seems well until Antonio, the gardener, storms in unhappy with the crushed flowers from below the window. To conceal the affair, Figaro pretends that it was he who jumped from the window and feigns a sprained ankle. Marcellina, Bartolo and Basilio burst into the room waving a court summons for Figaro, and calling for the delay of the wedding.

6 The Marriage of Figaro A resource for teachers Welsh National Opera 6 Detailed synopsis (cont.) Act III Alone, the Count ponders the confusing events of the day and vows that Figaro will marry Marcellina. Unseen by the Count, the Countess encourages a reluctant Susanna to go ahead with their plan to meet the Count in the garden later, but as Cherubino has now gone, she herself will impersonate Susanna. The Count overhears Susanna tell Figaro that he is sure to win his case against Marcellina, as she will repay the loan with the dowry the Count has promised her. The Count is enraged at the thought that Figaro will get what he wants. A lawyer, Don Curzio, announces that Figaro must marry Marcellina or pay her. Figaro says he cannot marry without his parents consent and that he has no idea who his parents are. Marcellina recognises an old birth mark on Figaro which identifies him as her son, who was kidnapped as a child, the father being Bartolo. Marcellina and Figaro embrace, confusing Susanna for a moment, but she soon learns the good news. The couples plan to celebrate in a double wedding. Barbarina, the gardener s daughter, has disguised Cherubino as a girl, and they plan to join the other girls in bringing flowers to the Countess. The Countess is struck with grief at the Count s lost love for her and wonders if the plan to catch the Count out will work. Act IV Figaro finds Barbarina in the garden, upset that she has lost a pin that the Count had given her to return to Susanna. He suspects Susanna of planning a meeting with the Count and is distraught that she is being unfaithful to him. He cries to his mother, Marcellina who tells him to be patient and plans to warn Susanna. In the garden, Cherubino arrives, looking for Barbarina whom he has arranged to meet in secret. An angry Figaro brings Bartolo and Basilio to witness Susanna s rendezvous with the Count. Meanwhile Susanna and the Countess dress as one another. The Count meets the Countess, thinking she is Susanna and leads her away. Figaro interferes and they go their separate ways to hide. By now Figaro understands the joke and, joining the fun, makes exaggerated love to Susanna in her Countess disguise. The Count returns, seeing he thinks, Figaro with his wife. Outraged he calls everyone together to witness his judgment, but the real Countess appears and the Count must forgive her. All are reunited and everyone rejoices! Antonio tells the Count that Cherubino is still in the house as he has found the woman s clothes that Cherubino has been wearing and they both leave to find him. The Countess returns with Susanna and the two write a note from Susanna to the Count asking to meet in the garden. They seal the note with a pin which the Count must return if he agrees. The girls present the flowers and Antonio and the Count catch Cherubino and are about to punish him when Barbarina interrupts them. During the marriage ceremony of Figaro and Susanna, the bride manages to slip the note, sealed with the pin, to the Count, who pricks his finger, dropping the pin, which Figaro retrieves.

7 The Marriage of Figaro A resource for teachers Welsh National Opera 7 The libretto and music The libretto The libretto of the opera is written by Lorenzo da Ponte but is based on a story by Pierre Beaumarchais. It is part of a trilogy of literary works, Le Barbier de Séville, ou La Précaution Inutile (1775) (The Barber of Seville, or The Useless Precaution); Le Marriage de Figaro, ou La folle Journée (1784) (The Marriage of Figaro, or the Day of Craziness); and La Mère Coupable (1784) (The Guilty Mother). The trilogy of plays reflected the 18th century growing dissatisfaction with the ruling class and nobility in the years preceding the French Revolution. However, when da Ponte collaborated with Mozart, he wisely toned down the political passages of the play and instead focused on the human elements of the story with the main theme of the opera becoming love and forgiveness. The music The music is composed by Wolfgang Amadeus Mozart ( ), possibly one of the greatest geniuses of western music and acclaimed composer of opera. Among others he is noted for Don Giovanni (1787), Così fan tutte (1789) and The Magic Flute (1791). In 1786 he composed The Marriage of Figaro, beginning a long-lasting collaboration with librettist Lorenzo da Ponte. Today, the Overture is so popular it is often performed as a concert piece. The Marriage of Figaro is a comic opera light and humourous with a happy ending.

8 The Marriage of Figaro A resource for teachers Welsh National Opera 8 Chapter Two How to make an opera Have a listen Which opera would you like to perform? Read the libretto & music score I need a creative team to create an original production What do I want it to look like? Who is going to come and see my wonderful opera? Find a conductor Find a director Find a designer Who will perform the opera? Share a vision Auditions Cast of singers 20 female choristers 20 male choristers Orchestra Create a model box of the set design How will they learn the music? Costume design drawings & buy fabric Rehearsals for cast, chorus and orchestra Make the costumes Make the props Build the set Sitzprobe - a sitting rehearsal of singers, chorus & orchestra How will they know how to act? Director runs production rehearsals Set moved to stage Opera company rehearse on the stage Set built in a rehearsal room Sell tickets Set carpenter Set painter Tell the press, newspapers, tv, radio & web Better do some marketing Design posters & leaflets Distribute posters & leaflets Dress rehearsals Opening night Tour lets show the rest of the country what we ve done!

9 The Marriage of Figaro A resource for teachers Welsh National Opera 9 Tips to help follow an opera Bringing your pupils to see a dress rehearsal Let your class know that coming to see the dress rehearsal of an opera is like any other trip to the theatre. Please bear in mind That they must stay seated throughout the performance. There will be one interval for eating, drinking and using the toilets. Encourage your pupils to listen carefully to the opera, talking is inappropriate and is off putting for the performers and other audience members. Applause is encouraged. It is a dress rehearsal so the conductor may stop at any time for corrections. Please remember to turn all mobile phones off. How to help your pupils follow the opera How can I tell what s going on? The dialogue, or as it is know in opera, recitative, moves the action along and lets you know what is happening. The songs, or arias, don t advance the action but do let you know the emotion of the character or situation. Sometimes it can be difficult to follow what the singers are saying, especially if they are singing in a foreign language. Don t worry about not understanding every word as handy surtitles are provided on screens at the side, or above the stage that translate the dialogue. By working through the lesson plan at the end of this pack, we hope that your pupils will have an understanding of the key characters and plot of the opera. It is helpful to give your pupils useful signposts to each scene, so that they know where they are in the plot and to encourage them to listen to extracts of the music before they come. Useful vocabulary Libretto Italian for little book, the text accompanying the music. Surtitle The translated text of the opera. Overture The instrumental beginning to the opera, that introduces the opera s main themes. Aria From the Italian work for air. This is a song for a solo voice and is used to communicate the emotion of a character. Operetta Light-hearted musical entertainment containing dance, spoken dialogue and practical jokes. A musical. Chorus at WNO 20 men, and 20 women, singing Soprano, Mezzo, Tenor and Bass, performing ensemble. Diva A female opera star. Translated as goddess; may imply a demanding or highly-strung star. Bravo! The Italian word of approval that is often shouted by the audience at the end of a performance. Vibrato The wavering tone added by a singer while sustaining a note. Coloratura A very high-pitched soprano that has extreme vocal agility and can perform highly elaborate fast and high singing with accompanying trills. Become and opera critic! Pupil Task: Encourage your pupils to critique the opera including the music as performed by the orchestra, the music as performed by the vocalists (either in groups or individually), the sets, the staging and the directing. Which parts of the opera did they like or not like? Did they like the way the singers portrayed the characters? What do they think would have been stronger/funnier/ better if it had been written differently?

10 The Marriage of Figaro A resource for teachers Welsh National Opera 10 Chapter Three Storytelling Key Pupil Objectives To become familiar with the opera To become familiar with the music To become familiar with the plot To understand the key characters and their role Additional Task Pupil Objectives To understand the difference between recitative and aria To listen to extracts of the opera and be able to distinguish between the two Starters Introduce your class to the Opera Glasses project. Discuss with your class what they already know about opera and if they have any questions. Example What do we already know There is music in an opera It can be difficult to understand Key Vocabulary Music, opera Languages Questions What is special about the operatic style of singing? Why is opera often performed in the language in which it was originally written? Give each pupil a photocopy of the How to make an opera sheet and discuss with them the different stages and people involved in putting together an opera. Main Task (Chapter One as reference material) Create with your class a key characters chart also discussing the voice they sing. Who is the character in relation to others? Which characters are married, or to be married? What is their role in the Almaviva household? Storyboard the plot of The Marriage of Figaro. What are the relationships between the characters? How does each character cause confusion / chaos? How are the true events revealed? It may be useful to bullet point key twists and turns in the plot and for you to put these together in order to help your pupils keep track of the plot. Discuss with your class the composer Mozart and the definition of a comic opera. Play to your class some extracts from the opera. Overture in just four minutes Mozart gives the audience a taste of the opera s hectic pace and events they are about to witness. Se vuol ballare aria sung by Figaro, Act I, describing how he plans to outwit the Count. Sull Aria duet between the Countess and Susanna, Act III. In this duet the Countess dictates to Susanna the note to the Count inviting him to the garden in a ploy to reveal his betrayal.

11 The Marriage of Figaro A resource for teachers Welsh National Opera 11 Additional tasks How the story is told recitative and aria. Discuss with your class how the story is told and how the composer uses recitative and aria to move the story along and also to reflect emotion. Aria A very melodic song in which a small amount of text is sung. The idea of an aria is to tell the emotion or affect of the experience on the characters. It is often beautifully melodic with lots of repetition. Recitative Lots of text. The idea of recitative is to tell the story and get through a lot of the plot. It imitates speech, is syllabic (one note per syllable) and has no repetition. Create a table to show the differences between recitative and aria and listen to some examples. Aria examples Non più andrai sung by Figaro in Act I describing Cherubino s new military life where there will be no gallivanting. Dove Sono I Bei Momenti sung by the Countess in Act III describing the loss of her happiness. Recitative examples Bravo, signor Padrone sung by Figaro in Act I in which Figaro tells he has learnt of the Count s desires on his promised bride, Susanna. He plots to outwit him. Giunse Al Fin Il Momento sung by Susanna in Act IV. In order to tease Figaro, who thinks Susanna is cheating on him with the Count, Susanna urges the Count to come quickly to her.